bell shakespeare presents
BY WILLIAM SHAKESPEARE
DIRECTED BY MARION POTTS
teachers’ kit
PRINCIPAL EDUCATION &
YOUTH SPONSOR
TEACHERS’ KIT: THE TAMING OF THE SHREW
CONTENTS
2
BELL SHAKESPEARE
ABOUT THIS KIT
3
SYNOPSIS: The Taming Of The Shrew
4
BACKGROUND: The Taming Of The Shrew
5
KEY CHARACTER PROFILES: The Taming Of The Shrew
6
THEMATIC CONCERNS OF THE PLAY
7
PRE-PERFORMANCE ACTIVITIES
ENGLISH
DRAMA
8
12
POST-PERFORMANCE ACTIVITIES
ENGLISH
CULTURAL
13
15
REFERENCES
16
BELL SHAKESPEARE
Launched in 1990, Bell Shakespeare is a dynamic, Australian theatre company with a broad
mandate to educate and entertain the public. The Company strives to present – at the highest
possible standard – the works of William Shakespeare, and, from time to time, other classics.
Bell Shakespeare is Australia’s only national touring Shakespeare theatre company. We are
committed to taking our productions and education programmes to audiences in capital cities,
regional and rural centres across Australia. We are also committed to the development and
training of actors and an ongoing examination of the role of theatre in the life of the community. We
believe that great theatre is a source of spiritual enrichment, wisdom and pleasure.
BELL SHAKESPEARE EDUCATION ONLINE
Bell Shakespeare’s education website is useful, relevant and entertaining.
www.bellshakespeare.com.au/education is the key to all your Shakespearean information
needs.
About This Kit
This kit has been devised for use in English and Drama classes with preparatory and follow-up
exercises for students. Exercises may be copied to distribute to students and are denoted as
ENGLISH
DRAMA
Written activities
Physical activities
CULTURAL
Research and discussion activities associated with cultural content in the
play
It is essential that teachers take students through the synopsis of THE
TAMING OF THE SHREW prior to the performance.
This Teachers’ Kit has been devised by Linda Lorenza BA Grad Dip Ed COGE MA, Head of Education at Bell
Shakespeare.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
3
SYNOPSIS: THE TAMING OF THE SHREW
The Taming Of The Shrew is set in Padua, near Verona (Italy). It is the story of a
strong-willed young woman named Katherina, whose father, Baptista, is determined that she will
be married before her sweet-tempered, beautiful younger sister, Bianca, can be married.
Shakespeare includes a prelude - or Induction - to the play proper. It is rarely performed and is not
included in the 2009 Bell Shakespeare production.
Lucentio, the son of a wealthy merchant, accompanied by his servant, Tranio, comes to Padua to
study Philosophy. He sees Baptista’s younger daughter, Bianca, and immediately falls in love with
her. Lucentio overhears Baptista telling locals Gremio and Hortensio that he will not let Bianca
marry until Katherina is married. He explains that his daughters will remain at home being tutored
in music and poetry. Lucentio decides the best way to win Bianca’s love is to be near her, so he
disguises himself as a teacher called Cambio, and gains work as her Latin tutor. He makes his
servant Tranio swap clothes with him and pretend to be him in Padua.
Lucentio has several rivals for Bianca’s love: Hortensio, the young man about town, and a rich, old
man, Gremio. Hortensio also thinks to disguise himself as Bianca’s tutor - her music teacher, Litio to win her attention and love.
Hortensio is met by his friend Petruchio who hears of Bianca’s shrewish, elder sister, Katherina.
Petruchio determines to marry Katherina against every objection around him. He seeks out
Baptista and asks to marry her, meets Katherina, seems to stun her into silent submission and
thereby wins her hand in marriage.
Petruchio is every bit as witty, sharp, obstinate, and shrewish by return to Katherina and everyone
declares they are both mad and ‘madly mated’. Petruchio’s plan is very deliberate: to give the
obstinate Katherina a taste of her own medicine. He turns up late and inappropriately dressed to
this own wedding and then abandons the wedding feast, taking her with him to his own house,
where he proclaims his love for her, and then deprives her of food and sleep and eloquently outwills her at every opportunity.
Gremio and Hortensio soon drop out of the contest for Bianca and Lucentio, disguised as Cambio,
is doing well but needs the financial guarantee of his absent father for the coming marriage.
Tranio, still posing as Lucentio, gains the help Biodello, an opportunist, who disguises himself as
Lucentio’s father, Vincentio, in order to make the required guarantee.
Katherina and Petruchio, returning to Baptista’s house, meet the real Vincentio. He has come to
Padua to visit his son. They innocently bring Vincentio to Baptista’s home where Tranio, and
Biodello (posing as Vincentio), are forced to admit they are imposters. The real Lucentio and
Bianca enter happily having just been married, and the plot of disguises is unraveled.
At Bianca’s wedding feast it is Katherina, ‘the shrew’, who is apparently transformed into a gentle
and acquiescent wife, while Bianca and Hortensio’s new wife are petulant and difficult. In the final
speeches, it is clear that Petruchio has succeeded in taming his shrew and that she is happy to be
tamed.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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BACKGROUND: THE TAMING OF THE SHREW
From Dunton-Downer, L. & Riding, A. (2004) Essential Shakespeare Handbook
The Taming Of The Shrew was a farcical comedy for Elizabethan audiences. Today it is a
controversial comedy about the sexual politics of marriage. The first performance was in 1663
although there is some evidence of a play of the same name being performed by the Lord
Chamberlain’s Men in 1594.
In 1588 Queen Elizabeth spoke to her soldiers, “I know I have the body of a weak and feeble
woman, but I have the heart and stomach of a king, and a King of England, too… I myself will take
up arms, I myself will be your general, judge and rewarder of every one of your virtues in the field.”
This was a few years before Shakespeare wrote the play and Elizabeth may well have been an
inspiration for the character of Kate – the warring daughter and sister.
The strongly anti-feminist themes of the play were regular dramatic content in Shakespeare’s day
and the slapstick violence between Kate and Petruchio was a comic device taken from the works
of Roman playwrights.
Like many of his plays Shakespeare has written around the ideas of disguise and mistaken
identity. This creates the physical and often farcical humour. In order to follow the play the
audience must actively keep track of who is disguised as whom with characters Tranio, Lucentio
and Hortensio are actively involved in the plot mostly as their disguised characters.
There is considerable dated humour in the many puns and jokes that captivated the Elizabethan
audience. Today’s audience may follow the intention rather than the detail of the puns in the
heated dialogue between Katherina and Petruchio, yet the often sexual nature of Shakespeare’s
word play seems to be easily followed by the contemporary audience when the action is lively and
matched to text. In 1897 George Bernard Shaw said, “The last scene is altogether disgusting to
modern sensibility.” Yet Germaine Greer (1971) argued, “Kate’s speech at the close of the play is
the greatest defence of Christian monogamy ever written.”
Today the play has become a director’s play about power and gender. The relationships
throughout the play are defined by fierce power struggles. Of course the key relationship is that
between Katherina and Petruchio, yet the relationship between Baptista and his daughters also
demands careful consideration. In this day and age the play requires a strong cast and solid
interpretation to ensure the production is not reduced to a period farce. The play can invite
audiences into the Elizabethan world and its domestic politics or it can take a contemporary bent
and draw the audience into its continuing social relevance. The latter often being explored through
devices such as contemporary set and costume design and using an all-female cast.
The Taming Of The Shrew on film
Directed by Franco Zeffirelli (1967) with Richard Burton and Elizabeth Taylor
Directed by Sam Taylor (1929) with Douglas Fairbanks and Mary Pickford
Cole Porter’s Broadway musical, Kiss Me Kate (1953) Directed by George Sidney with
Kathryn Grayson and Howard Keel
Shakespeare Re-told Season 1 Episode 3 The Taming Of The Shrew (2005)
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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KEY CHARACTER PROFILES: THE TAMING OF THE SHREW
BAPTISTA’S HOUSE
Baptista Minola
A lord of Padua. Father of Kate and Bianca.
Katherina
Baptista’s elder daughter. She is known about Padua as the “shrew” for her “scolding tongue”.
Petrchio’s unconventional methods change her behaviour to the point the even she says that
women are “bound to serve, love and obey”.
Bianca
Baptista’s younger daughter and Katherina’s sister. She is often the victim of Katherina’s violent
temper. Biance is the love interest of three suitors. One of which is Lucentio whom she marries.
Vincentio
Father of Lucentio, he comes unexpectedly to Padua to visit his son. He is outraged to discover
that he is being impersonated by an old schoolteacher.
Hortensio
Another of Bianca’s suitors and an old friend of Petruchio. He disguises himself as Litio the music
tutor to access Bianca.
Tranio
A witty servant. He pretends to be his master, Lucentio, so that his master may pose as Cambio,
Bianca’s tutor in poetry.
Biondello
He is the second servant of Lucentio. He is not happy about pretending that his fellow servant,
Gremio, is his master, Lucentio. In this production he impersonates Vincentio.
Gremio
A fool and veteran suitor of Bianca. He is wealthy, old and determined to include pretty Bianca
amongst his worldly treasures.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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KEY CHARACTER PROFILES: THE TAMING OF THE SHREW
PETRUCHIO’S HOUSE
Petruchio
A flamboyant adventurer from Verona. He comes to Padua to find a
wife from a wealthy family. He behaves outrageously until he is able
to subdue his tempestuous wife, Kate.
Grumio
He is Petrucchio’s servant. Somewhat irreverent himself,
Grumio gives Petruchio plenty of practice in taming
strong-willed people.
Curtis
Another of Petruchio’s servants. He has a knack for double-entendre.
Tailor
Petruchio orders him to make clothes, which Petruchio then rejects.
Haberdasher
He makes hats for Katherina.
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THEMATIC CONCERNS: THE TAMING OF THE SHREW
Motifs* and Imagery
*Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Preparing for a wedding
This is a key motive throughout the play and, of course, the play does conclude with the wedding
of Bianca. Anna Tregloan’s set design for this production draws on this idea and the play is set in a
location that represents an empty function centre, which is gradually being dressed for a wedding.
The function centre is Baptista’s territory, whereas Petruchio’s house is bare.
A Man’s World – Patriarchal Society
The play draws on the many social behaviours of the patriarchal society that was the Elizabethan
period. The religious ruling of the time was that everyone accepted their place in the Great Chain
of Being under God the Father and his representative on earth, the monarch, in this case Queen
Elizabeth. That the monarch was female upset this ruling and it could be considered that
Shakespeare has drawn on this in The Taming Of The Shrew.
The relationship and manner between Gremio, Hortensio and Baptista highlights the business of
marriage as negotiated by men. Hortensio and Gremio try to politely outdo each other in
presenting Baptista with what Bianca stands to gain by marring each of them. The woman at the
centre of the negotiation is not present for the discussion.
The play opens in Baptista’s house, in this case the function centre. The dress of the male
characters is reminiscent of the television show The Sopranos. This production uses an all female
cast yet they are not impersonating men to the point of caricature, thus challenging the audience to
consider the misogynistic tendencies of the script.
Being cruel to be kind
The play enacts the defeat of a woman’s threatened rebellion against the norm of submission. It
argues that the cruel treatment is for the victim’s good and enables her to become a compliant
member of patriarchal society (Schafer, 2002).In the twenty-first century the depiction of this
“taming” will influence whether the audience will be convinced that brainwashing and starvation are
appropriate techniques. The “taming” occurs in Petruchio’s house, a bare stark space with stacked
chairs and only one table – a contrast to Baptista’s lush reception centre.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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PRE-PERFORMANCE ACTIVITIES
ENGLISH
A Man’s World
In Act 2 Scene 1:325-399 Hortensio and Gremio are in discussion with Baptista. Each is trying to
convince Baptista to select him to marry Bianca. The scene does not include the “object” for which
they are, in essence, bartering!
ACTIVITY ONE
Read the excerpt from Act 2 Scene 1 on the next page.
1) Write a list of what each suitor has to offer?
2) Make a contemporary comparison – write the list of what you consider to be
equivalent items in today’s society.
3) Looking at your lists, imagine you are Baptista. Who would you choose to marry
your daughter? Why?
You do not have to choose Hortensio as Baptista does in the play.
4) Write two letters. One to Hortensio and the other to Gremio explaining your
decision and giving a detailed explanation of why each has or has not been
successful. Consider the following:
a. The language you would use for each recipient. This may differ, why?
b. How you will justify your decision in the letter.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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Act 2 Scene 1:325-399
GREMIO
No doubt but he hath got a quiet catch.
But now, Baptists, to your younger daughter:
Now is the day we long have looked for:
I am your neighbour, and was suitor first.
TRANIO
And I am one that love Bianca more
Than words can witness, or your thoughts
can guess.
GREMIO
Youngling, thou canst not love so dear as I.
TRANIO
Graybeard, thy love doth freeze.
GREMIO
But thine doth fry.
Skipper, stand back: 'tis age that nourisheth.
TRANIO
But youth in ladies' eyes that flourisheth.
BAPTISTA
Content you, gentlemen: I will compound this
strife:
'Tis deeds must win the prize; and he of both
That can assure my daughter greatest dower
Shall have my Bianca's love.
Say, Signior Gremio, What can you assure
her?
GREMIO
First, as you know, my house within the city
Is richly furnished with plate and gold;
Basins and ewers to lave her dainty hands;
My hangings all of Tyrian tapestry;
In ivory coffers I have stuff'd my crowns;
In cypress chests my arras counterpoints,
Costly apparel, tents, and canopies,
Fine linen, Turkey cushions boss'd with pearl,
Valance of Venice gold in needlework,
Pewter and brass and all things that belong
To house or housekeeping: then, at my farm
I have a hundred milch-kine to the pail,
Sixscore fat oxen standing in my stalls,
And all things answerable to this portion.
Myself am struck in years, I must confess;
And if I die to-morrow, this is hers,
If whilst I live she will be only mine.
TRANIO
That 'only' came well in. Sir, list to me:
I am my father's heir and only son:
If I may have your daughter to my wife,
I'll leave her houses three or four as good,
Within rich Pisa walls, as any one
Old Signior Gremio has in Padua;
Besides two thousand ducats by the year
Of fruitful land, all which shall be her jointure.
What, have I pinch'd you, Signior Gremio?
GREMIO
Two thousand ducats by the year of land!
My land amounts not to so much in all:
That she shall have; besides an argosy
That now is lying in Marseilles' road.
What, have I choked you with an argosy?
TRANIO
Gremio, 'tis known my father hath no less
Than three great argosies; besides two
galliases,
And twelve tight galleys: these I will assure
her,
And twice as much, whate'er thou offer'st
next.
GREMIO
Nay, I have offer'd all, I have no more;
And she can have no more than all I have:
If you like me, she shall have me and mine.
TRANIO
Why, then the maid is mine from all the world,
By your firm promise: Gremio is out-vied.
BAPTISTA
I must confess your offer is the best;
And, let your father make her the assurance,
She is your own; else, you must pardon me,
if you should die before him, where's her
dower?
TRANIO
That's but a cavil: he is old, I young.
GREMIO
And may not young men die, as well as old?
BAPTISTA
Well, gentlemen,
I am thus resolved: on Sunday next you know
My daughter Katharina is to be married:
Now, on the Sunday following, shall Bianca
Be bride to you, if you this assurance;
If not, Signior Gremio:
And so, I take my leave, and thank you both
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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ENGLISH
Cruel to be kind
When Petruchio and Katherina first meet there is an instant war of words through their witty
dialogue. The dialogue is loaded with animal imagery and puns and word play.
ACTIVITY TWO
Look at the following excerpt from Act 2 Scene 1.
This is Petruchio’s monologue just prior to his meeting Katherina.
1) Read it through for meaning.
2) In the space beneath each line rewrite the line using your own words.
PETRUCHIO
I will attend her here,
And woo her with some spirit when she comes.
Say that she rail; why then I'll tell her plain
She sings as sweetly as a nightingale:
Say that she frown, I'll say she looks as clear
As morning roses newly wash'd with dew:
Say she be mute and will not speak a word;
Then I'll commend her volubility,
And say she uttereth piercing eloquence:
If she do bid me pack, I'll give her thanks,
As though she bid me stay by her a week:
If she deny to wed, I'll crave the day
When I shall ask the banns and when be married.
But here she comes; and now, Petruchio, speak.
ACTIVITY THREE
Following is Kate and Petruchio’s dialogue at their first meeting (Act 2 Scene 1:177-218).
1) What do the images in their language suggest?
2) Describe Petruchio’s manner?
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
3) Why does Kate slap him?
11
Act 2 Scene 1:177-218
Enter KATHARINA
Good morrow, Kate; for that's your name, I
hear.
KATHARINA
Well have you heard, but something hard of
hearing:
They call me Katharina that do talk of me.
PETRUCHIO
You lie, in faith; for you are call'd plain Kate,
And bonny Kate and sometimes Kate the
curst;
But Kate, the prettiest Kate in Christendom
Kate of Kate Hall, my super-dainty Kate,
For dainties are all Kates, and therefore,
Kate,
Take this of me, Kate of my consolation;
Hearing thy mildness praised in every town,
Thy virtues spoke of, and thy beauty
sounded,
Yet not so deeply as to thee belongs,
Myself am moved to woo thee for my wife.
KATHARINA
Moved! in good time: let him that moved you
hither
Remove you hence: I knew you at the first
You were a moveable.
PETRUCHIO
Why, what's a moveable?
KATHARINA
A join'd-stool.
PETRUCHIO
Thou hast hit it: come, sit on me.
KATHARINA
Asses are made to bear, and so are you.
PETRUCHIO
Women are made to bear, and so are you.
KATHARINA
No such jade as you, if me you mean.
PETRUCHIO
Alas! good Kate, I will not burden thee;
For, knowing thee to be but young and light-KATHARINA
Too light for such a swain as you to catch;
And yet as heavy as my weight should be.
PETRUCHIO
Should be! should--buzz!
KATHARINA
Well ta'en, and like a buzzard.
PETRUCHIO
O slow-wing'd turtle! shall a buzzard take
thee?
KATHARINA
Ay, for a turtle, as he takes a buzzard.
PETRUCHIO
Come, come, you wasp; i' faith, you are too
angry.
KATHARINA
If I be waspish, best beware my sting.
PETRUCHIO
My remedy is then, to pluck it out.
KATHARINA
Ay, if the fool could find it where it lies,
PETRUCHIO
Who knows not where a wasp does
wear his sting? In his tail.
KATHARINA
In his tongue.
PETRUCHIO
Whose tongue?
KATHARINA
Yours, if you talk of tails: and so farewell.
PETRUCHIO
What, with my tongue in your tail? nay, come
again,
Good Kate; I am a gentleman.
KATHARINA
That I'll try.
She strikes him
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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PRE-PERFORMANCE ACTIVITIES
DRAMA
Bonny Kate
Every character has an opinion of Katherina. Most of which Petruchio hears before he meets her.
In their first meeting Petruchio calls repeatedly calls her Kate, which he has been told she hates.
He preceeds and follows this with all sorts of adjectives and metaphors.
ACTIVITY ONE
In the first meeting between Petruchio and Katherina the conversation is rather heated. They
spar off each other and the quick turns of phrase present a matching of intellects and wit
between the two.
Exploring the dialogue as a class
1)
Divide the class in to two groups two represent the Petruchio group and the
Kate group.
2)
Line the groups up on opposite sides of the space, each group facing the other.
One student can be the character or spokesperson for the group, announcing the line to the
other team. For example,
KATHERINA
Remove you hence: I knew you at the first
You were a moveable.
After which the Kate group make encouraging and enthusiastic noises and gestures,
suggesting that she has outwitted Petruchio.
The Petruchio speaks up:
PETRUCHIO
Why, what's a moveable?
His team of supporters make encouraging and enthusiastic noises and gestures, suggesting
that he has outwitted Katherina.
Work through the script excerpt like this, allowing the students to play with the language and
develop their own strength in the language.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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POST-PERFORMANCE ACTIVITIES
ENGLISH
Interpreting a play
The Director and Designer of a production spend time researching the play, when and why it was
written and how it has been presented over time; they undertake lengthy discussions to develop
the concept of the production.
ACTIVITY ONE
1) This production has some casting and design aspects to consider in your response to the
play. Think of the production you have just seen and write a dot point list of the all the
things you remember about:
•
•
•
2)
The cast
The set and lighting design
The costumes
Using the information in your list write your own review of the production.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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ENGLISH
‘A woman scorned…’
ACTIVITY TWO
Kate’s final speech is perhaps the most contentious speech in the play. Whilst comic
and entertaining to audiences in Shakespeare’s day, today the contents of the
speech would not be acceptable in the contemporary western working woman’s
world.
1)
2)
3)
4)
How was the speech presented in this production?
How did Kate respond to Petruchio’s request prior the speech?
Where and how did she speak the words in the speech?
What was the atmosphere created by the characters’ responses to Kate’s
speech?
Challenge:
1)
2)
How would you direct the speech to create a different atmosphere?
Consider tone of voice, the position of Kate and the other characters on
the stage and gestures they might use. Think about whom Kate might
direct particular lines of the speech to.
The Taming Of The Shrew Teachers’ Kit ©Bell Shakespeare Education 2009
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CULTURAL
Obedience, Dominance, Submission
ACTIVITY ONE
The final resolution of the text suggests that Katherina has submitted to her husband Petruchio.
However the interpretation of Kate’s final speech (Act 5 Scene 1:148-191) may be ironic.
Early in the play it is Katherina who dominates Bianca (Act 2 Scene 1).
There are many commentaries on and opinions about this play. Germaine Greer writes of The
Taming Of The Shrew that it is the “greatest defense of Christian monogamy ever written… It
rests upon the role of husband as protector and friend, and it is valid because Kate has a man
who is capable of being both, for Petruchio is both gentle and strong.” (Nuttall, 2007)
What do you think?
Could you places the relationships and behaviour in this play in the context of another culture
and religion?
Your task:
1. Research a selection of cultures and explore the rules of marriage within those cultures.
2. Try to find cultures that do not stem from Christianity so that you might look at comparing
them.
3. Is there a culture where the woman chooses her husband?
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REFERENCES
Crystal, D. & Crystal, B. (2002) Shakespeare’s Words A Glossary & Language Companion,
Penguin Books, London.
Dunton-Downer, L. & Riding, A. (2004) Essential Shakespeare Handbook, Dorling Kindersley
London.
Greer, G. (1970) The Female Eunich, MacGibbon & Kee, London.
Nuttall, A.D. (2007), Shakespeare The Thinker, Vaill-Balou Press, USA.
Schafer, E. (Ed.) (2002) Shakespeare in Production: The Taming of the Shrew, Cambridge
University Press, London.
www.bellshakespeare.com.au/education
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